I usually volunteer to take photos at Cambridge’s free, one-day, outdoor music festival, been doing it for years. This year, I was there for the parade at 11am and snapped through to about 5pm with a couple of beers, a paella, a chat with the Mayor and his Vicar, and others. I’ve selected what I think are the bests 111 shots from the almost 700 photos I took. They’re on Facebook and Flickr for your delectation, comments, and to tag yourself and friends. I’ll feed a few of them on to Instagram too.
Category: Music
Music: science and technology. News and views surrounding the world of music as well as pointers to songs and instrumentals written and recorded by Sciencebase’s David Bradley. Find me on BandCamp for streaming and downloads.
Classic Chords #24 revisited – Good Times by Chic
TL:DR – The Good Times chords for the chorus, according to Nile Rodgers himself when he plays it live, are Em7, E7sus4, Em11 at the seventh fret, and A13 at the fifth fret. That Em11 is an A7sus4 at the fifth fret on the original recording. The verses are Em7 and Asus4, A.
Number 24 in my Classic Chords series was Good Times by Chic; I decided to revisit that lesson with a video version.
Nile Rodgers uses four fairly straightforward chords as the building blocks of the classic dance tune “Good Times” by CHIC and made famous over the last forty years by endless sampling and recycling of the track.
The chords are Em7, E7sus4, Em11, and A13.
Straightforward as they seem, the first three played at the seventh fret and the last one at the fifth fret.
The Nile Style is to pick out clusters of three strings to funk across in his trademark percussive style, he rarely strums all the strings at once, so at any one time, three of the strings are sounding, usually staccato, and three are muted. Much of the sound is down to his right-hand rhythm but also the muting with the left hand lifting off the strings. Nile also throws in a few grace notes and additional tones to those chords, so see them as the basic four and build on them to jazz up the funk. That’s the choruses, he simplifies and drops back for the verses: Em7 and Asus4 roughly speaking.
I’ve recorded myself playing just the four building blocks without embellishment. And, on a Fender Telecaster rather than his signature Strat, sorry about that…
If you enjoyed this Classic Chord, check out the series, which includes the proper chords for Tom Sawyer by Rush, The Rolling Stones’ Brown Sugar, Times Like These from Foo Fighters and many more.
Classic Chords #24 Chic Good Times
TL:DR – The Good Times chords for the chorus, according to Nile Rodgers himself when he plays it live, are Em7, E7sus4, Em11 at the seventh fret, and A13 at the fifth fret. That Em11 is an A7sus4 at the fifth fret on the original recording. The verses are Em7 and Asus4, A.
My band (C5) are busy rehearsing for upcoming pub gigs and a couple of parties. We often jam on the CHIC song Good Times just because it’s a classic to funk out to. But, a couple of weeks ago we made the decision to arrange it properly and add it to the band’s repertoire. Of course, being an uberfan of Nile Rodgers I wanted to get it just right. I thought I thought I had the four chords he uses…been jamming on them for years.
Simple.
Except it was not so simple.
All the online chords charts and tutorials online have something akin to that progression although they seem to jump from the Em7/E7sus4 to an Asus4 (I had that as a much jazzier and more fitting Dmaj7) and then an A13. In fact, attempting to get closer and closer to the harmonies Nile is playing you can hear that the Em7 and the E7sus4 are correct, as is the A13, but that bridging harmony is off by a note or two. Turns out he’s using an Em11 to get him from the main riff to the resolved chord on the fourth beat (and adding a few grace notes in between). Nile spells it out in detail in the video below, from 6’30”. At least that’s the case when he plays it live. That Em11 is an A7sus4 at the fifth fret on the original recording. The verses are Em7 and Asus4, A.
In addition, as is well known to CHIC aficionados but not necessarily to some funk guitarists who strum across the width of the fretboard with each stroke or use the three high strings only, Nile rarely does that, he grabs triads with his pick and bounces from the higher notes in chunks to the bass notes, chunking and chopping in sixteenths with lots of left-hand muting and plenty of percussive gaps. It sounds like funk, but it’s jazz, man, jazz…
So, the chord chart should look really like the one you see above. If you’ve not been playing it like that, you’ve not been playing it right. Basically, cycles around all four chords in the choruses, but lays back a lot and shuttles between the Em and the A for the verses.
And, here’s a quick burst on my Tele, demo’d in my home studio:
This song has an almost 40-year history and was one of the first to be sampled and sampled and sampled again from Rapper’s Delight and on and on. No the wonder he calls his guitar The Hitmaker.
Here’s Nile explain how he plays Good Times and a whole bunch of other songs
If you enjoyed this Classic Chord, check out the series, which includes the proper chords for Tom Sawyer by Rush, The Rolling Stones’ Brown Sugar, Times Like These from Foo Fighters and many more.
Second mix of my demo, this time with a MIDI track of Nard’s bassline
Close to the Equinox Festival
We had our second Close to the Equinox mini indoor music festival at the Cottenham Community Centre last week, I’d spent pretty much most of my time since the last one organising this one, recruiting musicians, building the roster and then delegating all the jobs on the day so that I ended up more stressed with nothing to do but wait for my band’s allocated slot at the end, hahah. Anyway, here’s a couple of spliced video clips Mrs Sciencebase recorded sync’ed with pro quality sound recorded by Calvin and Jason.
We once again raised the roof to raise funds at the Cottenham Community Centre at our second mini indoor music festival. Lots of great local musical talent made for an enchanting and community-spirited evening, with Jane Hackshaw, Steve Poole and their team serving refreshments to keep everyone well watered.
First up were local teen choir VoxPop with the irrepressible Siobhan Lihoreau conducting and husband Tim accompanying on piano. We next had mesmerising folk from IVC students Holly and Katherine who go by the name of “Mythopoeic”, followed by the stunning voice of solo singer-guitarist Gemma Bearpark.
Next up, was CCC’s very own Simon Oliver with acrostic acoustic songs from his new CD, followed by sublime singing from Pat Coughlan. Pat was also joined on a couple of songs (including Kylie’s latest hit) by our fabulous and energised compere for the evening the inimitable Liz Morris.
Our next act was Cottenham favourite Lucy Maynard who took us on a grand musical tour from Coldplay and Snow Patrol back to Nina Simone with plenty of wondrous piano songs in between. The final act was my band C5 featuring Jo Brass on lead vocals, Andrea Thomson on backing vocals, Rich Blakesley on lead guitar, Roger Brass on bass, Adam Stewart on drums, and myself on lead vocals and acoustic guitar. There was no riot, but we had them dancing around the tables till (fairly) late.
A special thanks should go to Calvin Monk and Jason Cooper who surrounded us with sound. They more than ably controlled the eclectic mix of instruments and vocals from accordion and fiddle to acoustic and electric guitars, ukulele, piano, drums and bass.
The event attracted a great crowd and ultimately raised a fantastic surplus of almost 800 pounds, smashing the total from our first mini-festival last September and building the cash pot for major improvements at the CCC. So, thank you to everyone who helped including the CCC trustees, all the performers, and all who turned out to watch, and most importantly, listen.
Our third mini festival will hopefully once again be Close to the Equinox, in September, and we hope to see an even bigger crowd next time!
https://www.facebook.com/CottCommCentre/
Did James Honeyman-Scott use a Rickenbacker 12-string on Brass in Pocket?
Someone just hit my website with the search phrase
"Did James Honeyman-Scott use a Rickenbacker 12-string on Brass in Pocket?"
Presumably, they hit Number 11 in my Classic Chord series, which was the jangly Aadd2 chord that opens Brass in Pocket. series. Well…I can’t find any photos of Honeyman-Scott playing a Rickie 12-string…but there is a quote from him in an old magazine (obviously) from the time he was working in a guitar shop just before joining The Pretenders:
“All of a sudden the radio’s on and there’s this huge guitar sound coming out, like sending out a big Rickenbacker 12-string or something. And I thought, ‘Ah, my time is here.’ So that’s what happened. And then I hooked up with the Pretenders.”
However, he goes on to explain that the way he got “that” sound was “using an Ibanez Explorer…it was incredible…went through a Marshall. And to get that sound, I was using the Clone Theory pedal made by Electro Harmonix. That’s how I got the sound.”
He also played a Gibson 335 and a Les Paul and occasionally borrowed Chrissie Hynde’s Fender Telecaster for solos. Later in the interview, he talks about multi-tracking his Rickenbacker 12-string, Ovations, Guilds, Yamahas, and other guitars. It was presumably on that track in some shape or form in the overdubs; it sounds like it is!
How to restring a Telecaster
TL:DR – Fender Telecasters have an unusual style of stringing that requires some prior knowledge about the way the machinehead tuning posts work.
Restringing a Fender Telecaster requires a twist…well, not a twist, a kink. First, you must cut the string to the required length and then bend a 90-degree angle into the very end. You then push the kinked end into the hole and start winding it on. You can add the kink as you push the string into the hole, but either way, it has to be done.
If you don’t put that bend into the end, you’re liable to have the string ping out of the hole as there’s really nothing keeping it in there (other types of tuning peg have a hole through the stem itself which sort of precludes this pinging out. An extra tip is to use a capo at fret 3 or 4 to hold the replacement strings loosely in position while you do this job.
Machine heads are used on mandolins, guitars, double basses etc., and are usually located on the instrument’s headstock. The non-geared tuning device on a violin, viola, cello, lute, and older Flamenco guitars are called friction pegs. Friction pegs can be painful and so many of those instruments have microtuners at the bridge too, just as you would later find on many guitar tremolo (more strictly speaking a vibrato) systems with a locking nut, particular the floating type developed by Floyd Rose.
By the way, you did know that’s where the Deep Purple song title came from, oh and the eponymous band, didn’t you?
Songs of the Sea
TL:DR – An acrostic acoustic and eclectic electric of original songs from Dave Bradley, written as a semi pseudo autobiographical response to life’s ebb and flow.
The album kicks off with the insistent rocker “In Deep Water”. Then I’m pondering the political climate in “Prevailing Wind”. The angst-ridden “Luna” worries about love. “Foreign Shores” serves its time overland by sea with “The Tide That Never Turns” telling of the twin cities, followed by “When the Mood Takes You”. Watch out for “Turncoats” on the shore and you can “Give My Love to the Waves”. “Coaldust and Seaspray” takes me back to my childhood and before, while “Still Empty Boats” reflects on family life. Finally, I return to the home port in “Sail Me Back to Uh-Huh Town”.
Songs of the Sea is available to stream via SoundCloud, and to download via as a slightly different collection on BandCamp as The Sea Refuses No River.
All songs words and music by David Bradley. Guitars, vocals, bass, synths, percussion, and production David Bradley. Except for drums on “In Deep Water” by Klaus Tropp. Backing vocals on “Give my love to the waves” Beth Bradley.
Visitors might like to know that this album was superseded by a new compilation – The Sea Refuses No River, which was sequenced for me by collaborator and friend Clive-upon-Sea in May 2018.
A microbe called Rush
Grace Darling
On the 7th of September 1838, having set out from Hull on a voyage to Dundee, the paddle steamer the SS Forfarshire with 61 aboard ran aground, with engine and other problems, in stormy weather on one of the Outer Farne Islands, Big Harcar (known locally as “Great Hawker”), off the Northumbrian coast.
A handful of those aboard escaped in a lifeboat but the lives another 9 were saved by the persistence of Grace Darling who persuaded her father, the Longstone Lighthouse keeper that they could row their 21-foot Northumberland Coble the 3/4 of a mile or so to Big Harcar and pick up survivors as the paddle steamer was torn apart on the rocks. On arrival, father William left Grace to hold the boat steady while he got three surviving crew and a passenger Mrs Dawson, whose children had been pulled from her by the sea, to the boat.
Darling’s bravery on that night became a national celebration of her heroism. The fame it brought her never sat comfortably even when the Duke and Duchess of Northumberland took her under their wing at their home, Alnwick Castle, and looked after the endless donations and the demands of portrait painters, journalists, and members of the public.
Tragically, just four years later, at the age of 26, Darling took ill and was sent back to her hometown of Bamburgh with its magnificent castle that stands majestically over the Northumbrian coast. She died of tuberculosis on the 20th October 1842.
As a coastal Northumbrian myself, I’ve carried this story with me since first hearing about Grace Darling at school, I even had some memorabilia in the form of a commemorative coin and booklet that was sold in aid of the Lifeboat Appeal in the early 1970s. There have been several songs about her over the years. It’s the 175th anniversary of her death this autumn (20th October 2017) so I have now at long last written and recorded my own homage to Grace Darling.
Grace
You were born by the castle on the sand
Although a child of the land your father lit the way
For every passing sail, and every steamer grand
But your life didn’t go quite as you planned
Though your end was not at sea
Oh Grace. You darling of the waves
Won’t you come and save us from the peril of the sea
Oh Grace. You darling of the brave
Now that you have saved us, won’t you stay with me
A ship was wrecked in ’38
on rocks that flanked the isle, despite the light
Your father gave. Though little more than a child,
you rowed across the waters bleak
To bring those souls to land
But all the fame you didn’t seek
Couldn’t save you from the sand
The night was black when you returned
to the castle on the sand
And all the life you ever lacked
consumed in your last stand
At 26 you’re laid to rest,
sea fret upon a distant deck
The light reflected in the eyes
of souls you saved from Longstone’s distant wreck
Avant garde accident
Earlier in 2017, I wrote an acoustic rock song about homelessness. Specifically, it was about the streets of Cambridge and was a nod to the charity Jimmy’s Cambridge (donate now) for which we, as The TyrannoChorus, are choir in residence this year and raising funds and awareness for the night shelter.
Anyway, the song Bridges (Crossed and Burned) is online – SoundCloud and BandCamp, but I wanted to try and transcribe the melody and then arrange some harmony parts (SATB) for the choir. Not my strong point, to be honest, and I was hoping to find a shortcut. If I could record me singing the melody then perhaps I could use a file converter to turn the raw sound file into MIDI and so automate the first step and get the tune down as a score that I could then add harmonies to and flag with the guitar chords over which our pianist might ad lib the accompaniment. Too ambitious?
Well, I tried a wav to midi converter…and the results were interesting, to say the least. To my ear the result bears no resemblance to the tune I sang and is more akin to some kind of early twentieth century, dawn of jazz, classical avant garde crossover…have a listen. It’s quite entertaining:
And, here’s what the resulting MIDI file displayed as a score in my MIDI editor looks like:
I reckon if we are going to get to sing this before the end of the year, I somehow have to bribe, blackmail, or otherwise persuade our pianist Tim to take on arranging it…but that incurs the bigger assumption that our choir leader, Siobhan, likes the song and wants us to sing it in the first place…